Gesu Bambino by Pietro A. Yon (1886-1943). Arranged by David Marlatt. For Brass Quintet. 20th Century, Christmas. Medium. Duration 00:03:50. Published by Eighth Note Publications (EP.BQ25197).
ISBN 9781554724086. 20th Century, Christmas.
This beautiful and flowing Christmas carol was written by Pietro Yon. The melody is found mainly between the Horn and Flugel horn with the rest of the ensemble supporting with rhythmic figures. Slight variations are added as each verse is played.

Sinfonia Caroliniana by Walter Hartley (1927-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1/2, Trombone 3, ). Band Music. Grade 5. Score only. Duration 8:00. Published by C. Alan Publications (CN.14101).
Sinfonia Caroliniana is the sixteenth of Hartley's works to use "sinfonia" in its title and the sixth of these for symphonic wind ensemble (including Sinfonia I, IV, IX, and XIV). The second word refers to the excellent musicians of the University of North Carolina at Charlotte Symphonic Wind Ensemble, and their director, Dr. Laurence L. Marks, for whom the work was written, to whom it is dedicated, and who premiered it on February 25, 2006 at the Southern Division Conference of the College Band Directors National Association. The title also reflects the composer's delight "in the welcoming spirit my wife and I have encountered since moving to North Carolina in 2004." Some of the melodic material in the piece is based on the pentatonic scale typically found in Southern hymnody, which has inspired some of his other recent compositions. "As with most of my other Sinfonias, this one is a short and compact symphony structured in three movements, fast-slow-fast, as were the early 18th-century Italian opera overtures called "sinfonias." Like them, this piece is tonally centered (E-flat - C - E-flat) but uses current harmonic spectrums.

Sinfonia Caroliniana by Walter Hartley (1927-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1/2, Trombone 3, ). Band Music. Grade 5. Score and parts. Duration 8:00. Published by C. Alan Publications (CN.14100).
Sinfonia Caroliniana is the sixteenth of Hartley's works to use "sinfonia" in its title and the sixth of these for symphonic wind ensemble (including Sinfonia I, IV, IX, and XIV). The second word refers to the excellent musicians of the University of North Carolina at Charlotte Symphonic Wind Ensemble, and their director, Dr. Laurence L. Marks, for whom the work was written, to whom it is dedicated, and who premiered it on February 25, 2006 at the Southern Division Conference of the College Band Directors National Association. The title also reflects the composer's delight "in the welcoming spirit my wife and I have encountered since moving to North Carolina in 2004." Some of the melodic material in the piece is based on the pentatonic scale typically found in Southern hymnody, which has inspired some of his other recent compositions. "As with most of my other Sinfonias, this one is a short and compact symphony structured in three movements, fast-slow-fast, as were the early 18th-century Italian opera overtures called "sinfonias." Like them, this piece is tonally centered (E-flat - C - E-flat) but uses current harmonic spectrums.

Italian Carol by Luigi Zaninelli. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Solo Clarinet in Bb, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet in Bb, Contralto Clarinet in Eb, Alto Saxophone in Eb 1, Alto Saxophone in Eb 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Tru). Band Music. Grade 3. Score only. Duration 4:00. Published by C. Alan Publications (CN.12041).
Dedicated to the memory of my mother, Caterina Pesci Zaninelli A delightful setting of an ancient Italian Carol. Consistent with Zaninelli's contrapuntal skills, after first offering us a warm, tender exposition of the ancient carol, he then presents an original section of pastoral loveliness which seems to spring naturally from the ancient carol. Then, quite spontaneously, we hear a return of the carol this time combined with the pastoral section. The result is stunning. Once again while giving us music that appears to be charming and simple, in reality, Zaninelli creates a work of depth and sophistication.

Italian Carol by Luigi Zaninelli. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Solo Clarinet in Bb, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet in Bb, Contralto Clarinet in Eb, Alto Saxophone in Eb 1, Alto Saxophone in Eb 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Tru). Band Music. Grade 3. Score and parts. Duration 4:00. Published by C. Alan Publications (CN.12040).
Dedicated to the memory of my mother, Caterina Pesci Zaninelli A delightful setting of an ancient Italian Carol. Consistent with Zaninelli's contrapuntal skills, after first offering us a warm, tender exposition of the ancient carol, he then presents an original section of pastoral loveliness which seems to spring naturally from the ancient carol. Then, quite spontaneously, we hear a return of the carol this time combined with the pastoral section. The result is stunning. Once again while giving us music that appears to be charming and simple, in reality, Zaninelli creates a work of depth and sophistication.

Duettino (from 'Don Giovanni'). By Geoffrey Brand. Arranged by Geoffrey Brand. For Concert Band (Duet: Bb Clarinet or Bb Cornet, Bassoon, or Euphonium, Flute 1-2, Oboe, Bb Clarinet 1-3, Bb Bass Clarinet, Bassoon, Alto Saxophone 1-2, Bb Tenor Saxophone, Eb Baritone Saxophone, Cornet 1-2, Trumpet 1-2, Horn in F 1-2, Trombone 1-2, Euphonium, Bb Euphoniu). Band Music. Grade 2.5. Score only. Duration 3:00. Published by C. Alan Publications (CN.S11087).
In this arrangement, the duettists can be either Clarinet and Bassoon or Cornet and Euphonium. The Cornet parts in the band are optional; in the version for Clarinet and Bassoon they should play only at the conductor's discretion, and according to good balance. The timpani part must at all times be played with a light touch. Here too the conductor should exercise discretion.

Duettino (from 'Don Giovanni'). By Geoffrey Brand. Arranged by Geoffrey Brand. For Concert Band (Duet: Bb Clarinet or Bb Cornet, Bassoon, or Euphonium, Flute 1-2, Oboe, Bb Clarinet 1-3, Bb Bass Clarinet, Bassoon, Alto Saxophone 1-2, Bb Tenor Saxophone, Eb Baritone Saxophone, Cornet 1-2, Trumpet 1-2, Horn in F 1-2, Trombone 1-2, Euphonium, Bb Euphoniu). Band Music. Grade 2.5. Score and parts. Duration 3:00. Published by C. Alan Publications (CN.R10087).
In this arrangement, the duettists can be either Clarinet and Bassoon or Cornet and Euphonium. The Cornet parts in the band are optional; in the version for Clarinet and Bassoon they should play only at the conductor's discretion, and according to good balance. The timpani part must at all times be played with a light touch. Here too the conductor should exercise discretion.

Brindisi from 'La Traviata' (Clarinet or Cornet Feature). By Giuseppe Verdi (1813-1901). Arranged by Geoffrey Brand. For Soloist(s) with Concert Band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Solo Bb Clarinet or Cornet (or soprano voice), Solo Bassoon or Euphonium (or baritone voice), Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet/Cornet 1, Bb Tru). Band Music. Grade 3. Score only. Duration 3:00. Published by C. Alan Publications (CN.S11130).
Verdi's opera "La Traviata" (The Castaway) is based on the book 'The Lady of the Camelias' by Alexandre Dumas. It was first produced in Venice in 1853. The scene is a banquet room in the home of Violetta in Paris in 1700, where a great supper party is being held. Alfred Germont and Violetta Valery declare their love for each other, to the music of Brindisi - a drinking song - as the other guests join in the merriment and splendour of the evening. Since the key (concert Bb) and layout conform exactly to Verdi's score, a vocal score of 'La Traviata' can be used for soprano (Violetta) and baritone (Alfred) and, if available, a chorus can also be added.

Brindisi from 'La Traviata' (Clarinet or Cornet Feature). By Giuseppe Verdi (1813-1901). Arranged by Geoffrey Brand. For Soloist(s) with Concert Band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Solo Bb Clarinet or Cornet (or soprano voice), Solo Bassoon or Euphonium (or baritone voice), Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet/Cornet 1, Bb Tru). Band Music. Grade 3. Score and parts. Duration 3:00. Published by C. Alan Publications (CN.R10130).
Verdi's opera "La Traviata" (The Castaway) is based on the book 'The Lady of the Camelias' by Alexandre Dumas. It was first produced in Venice in 1853. The scene is a banquet room in the home of Violetta in Paris in 1700, where a great supper party is being held. Alfred Germont and Violetta Valery declare their love for each other, to the music of Brindisi - a drinking song - as the other guests join in the merriment and splendour of the evening. Since the key (concert Bb) and layout conform exactly to Verdi's score, a vocal score of 'La Traviata' can be used for soprano (Violetta) and baritone (Alfred) and, if available, a chorus can also be added.

Prelude from 'La Traviata' by Giuseppe Verdi (1813-1901). Arranged by Geoffrey Brand. For Concert Band (1st Flute/Piccolo, 2nd Flute, 1st Oboe, 2nd Oboe, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone, Eb Baritone Saxophone*, 1st Bb Trumpet, 2). Band Music. Grade 3.5. Score only. Duration 3:50. Published by C. Alan Publications (CN.S11249).
Giuseppe Verdi's life is an example of ultimate high achievement in spite of enormous early adversities. Born into a small hamlet in Parma, Italy, Verdi's earliest music influences were the organ and the church.At the age of 18, he applied to enter the Conservatoire of Music in Milan but was rejected. The following year, he unsuccessfully tried for the post of cathedral organist in Milan. By 1845, Verdi wrote of being "condemned continually to scribble notes. Happiness does not exist for me." His music was not widely accepted or performed.Following the first performance of La Traviata in Venice in 1853, he said, "La Traviata, last night, was a fiasco. Is it my fault or the singers? Time will tell." It has; La Traviata has become one of Verdi's most performed and best loved works.The Prelude, with which the opera opens, offers a fine example of Verdi's delicacy of scoring and genuine imagination in his writing for the theatre.

Prelude from 'La Traviata' by Giuseppe Verdi (1813-1901). Arranged by Geoffrey Brand. For Concert Band (1st Flute/Piccolo, 2nd Flute, 1st Oboe, 2nd Oboe, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone, Eb Baritone Saxophone*, 1st Bb Trumpet, 2). Band Music. Grade 3.5. Score and parts. Duration 3:50. Published by C. Alan Publications (CN.R10249).
Giuseppe Verdi's life is an example of ultimate high achievement in spite of enormous early adversities. Born into a small hamlet in Parma, Italy, Verdi's earliest music influences were the organ and the church.At the age of 18, he applied to enter the Conservatoire of Music in Milan but was rejected. The following year, he unsuccessfully tried for the post of cathedral organist in Milan. By 1845, Verdi wrote of being "condemned continually to scribble notes. Happiness does not exist for me." His music was not widely accepted or performed.Following the first performance of La Traviata in Venice in 1853, he said, "La Traviata, last night, was a fiasco. Is it my fault or the singers? Time will tell." It has; La Traviata has become one of Verdi's most performed and best loved works.The Prelude, with which the opera opens, offers a fine example of Verdi's delicacy of scoring and genuine imagination in his writing for the theatre.